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Faithful Breath - Fading Beauty (Reissue) (2005)
vom: 20.07.2016
Downloads:
381
Hochgeladen um:
06:15:28
Öffentlicher Name:
eRaZEr
Format:
mp3
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Faithful_Breath-Fading_Beauty-Reissue-2005-GRAVEWISH [img(width=316 height=60)]links/images/splogo.jpg[/img] [img(width=275 height=86)]links/images/zslogo.png[/img]
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ÜÛÛÛÛÛÜ °ÛÛÛÛÛÜ ÜÛÛÛÛÜ°ÛÜ °ÛÜ ÜÛÛÛÛÛÜ ÛÛÛÜÛÛ ÜÛÛ ÜÛÜ ÜÛÛÛÛÛÛ ÜÛÜ ÜÛÛÛ °ÛÛÛÛ°ÛÛßÛÛÛÛ² ßÛÛ ÜÛÛ°ßÛÛÛÛÛ ÛÛÛÛ ÛÛÛ² ÛÛÛÛÛÛ²ÛÛ ²ÛÛÛÛÛÛÛ ÛÛÛ²°ßÛßÛÛÛÛ ÛÛÛ² ÛÛÛ² ²ÛÛÛ° ÛÛ ÛÛÜ ÜÛÛ²ÛÛ ²ÛÛÛ²ÛÛ° ²ÛÛÛ°ÛÛÛ°ÛÛÛÛÛÛÛÛÛÛÛÜ ÛÛÛ°ÛÛÛ° ÛÛÛ° ÜÛÛÛ ÛÛÛ ÜÛß° ÛÛÛÛÛÛÛÛ°ÛÛ ÛÛÛÛÛÛÛÛÛÜ ²ÛÛ°ÛÛÛ ÛÛÛ²ÛÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛ ÛÛÛ ÛÛÛ° ÛÛÛÛÛÛÛ ÛÛÛ² °ÛÛ ÛÛ ÛÛÛÛÛÛ² °ÛÛ ßÛÛ ÛÛÛ°ÛÛÛ²ÛÛÛÛÛÛ ÛÛÛ²ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛÛÛÛÛÛ°ÛÛÛ° ÛÛÛ ÛÛÜ ÛÛ²ÛÛÛ° ÛÛÜ ÛÛ°ÛÛ² ÛÛÛ ßßÛÛÛÛ ÛÛÛ°ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ²°ÛÛÛÛÛÛÛ° ÛÛÛ ÛÛÛ²ÛÛ ÛÛÛ ÛÛÛ²ÛÛ²ÛÛ° ÛÛÛ ²ÛÛÛÛ ÛÛÛ ÛÛÛ ²ÛÛ² ÛÛÛ ÛÛÛ° ²ÛÛÛÛÛÛ ÛÛÛ ²ÛÛÛÛ ²ÛÛÜ ²ÛÛÛÛÛÛÛÛ ÛÛÛ ²ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ°ÛÛÛ ÛÛÛ °ÛÛÛÛÛÛ ÛÛÛ °ÛÛÛÛ °ÛÛÛ ÛÛÛ²ÛÛÛ² ÛÛÛ °ÛÛÛ ÛÛÛ ÛÛÛ ÛÛ²ÛÛÛ ÛÛÛ ÛÛÛ²ÛÛ ÛÛÛ ÛÛÛ ²ÛÛÜ ÛÛÛ°ÛÛÛ° ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ °ÛÛÛÛÛ ÛÛÛ ÛÛ²°ÛÛÜ ÛÛÛ ²Ûß ²ÛÛÜ ÛÛÛ ÛÛ° ÛÛÛ ÛÛ² ÛÛÛ ÛÛÛ °ÛÛÛß °Ûß ÛÛ° ÛÛ °Ûß °ÛÛÛÜ ß ß ²Ûß ÛÛÛ° °Ûß ÛÛß ÛÛ° ÜÛÛß °ÛÜ ÜÛÛÛß °ÛÛ ° ÛÛ ²° ²° ÛÛ° ²Û° °Ûß ßÛ° °Û² ° ÛÛ ÛÛ Artist: Faithful Breath ÛÛ ÛÛ ² Û°° þÛ Album: Fading Beauty Ûþ °°Û þ Û²ß Û Year: 2005 Û ß²Û ° Û ² Rel. Date: 2016-07-04 ² Û ± ± Genre: Progressive Rock ± ± ÛÜ ° Label: Garden Of Delights ° ÜÛ ° ÛÜ ° Source: CD ° ÜÛ ° Û² Type: Reissue ²Û ° ² Û Quality: VBR, 44.1kHz, Joint Stereo Û ° ² ² Û Û ° ² Ü þ þ ² þ °Û Û° ß Û Reissue of 1973/1974 album. Û Û Û Û German rock in the early 70’s tended to mostly Û Û consist of the often-rambling psychedelic rumble Û Û known as “krautrock,” a term first used as a Û Û pejorative by foreigners before being embraced as Û Û an endearment by its progenitors. Like any musical Û Û force, krautrock had its highs and lows, but its Û Û local ubiquity in the first half of the decade Û Û practically ensures that the few German bands of Û Û the period that didn’t adhere to that mold tend to Û Û stand out in one’s memory on those rare encounters Û Û with them. Just as it was fairly unusual for a Û Û non-German band to latch on to that distinctive, Û Û minimalistic flair (Nektar’s A Tab in the Ocean is Û Û remarkably krautrockish for a product of the Û Û British Isles), so too was it rare for a German Û Û band to appropriate the traditionally English Û Û symphonic sound. For years I had figured that the Û Û mostly excellent Triumvirat was the lone oddity in Û Û this department, until stumbling upon Faithful Û Û Breath, and on the Metal Archives of all places. Û Û With a tendency towards large-scale compositions Û Û and sporting a moniker reflective of that classic Û Û prog rock adjective/noun incongruity (Electric Û Û Sandwich, Mellow Candle, Glass Hammer, Soft Û Û Machine etc.), I was quite hopeful to have Û Û uncovered yet another obscure gem for my Û Û progressive collection. Û Û Disappointedly, this wouldn’t quite be the case, Û Û as I’d find much of its beauty had faded long Û Û before I’d ever proffered a gaze in its direction. Û Û Side A of Fading Beauty is comprised entirely of Û Û the two part “Autumn Fantasia” suite, which is Û Û much less blustery than its name implies. For a Û Û large scale instrumental, it is a surprisingly Û Û restrained composition, mostly content to wash the Û Û listener in alternatively dense and minimalistic Û Û layers of Mellotron, acoustic guitars, organs, and Û Û pianos with the occasional somber electric melody Û Û to follow over top. There are a few climaxes to Û Û the ebb and flow, but much of the potential drama Û Û of this moody pseudo-classical dirge is lost Û Û because of its relatively sparse instrumentation. Û Û Compare this to another contemporary piece like Û Û ELP’s “Karn Evil 9” with its insane virtuosity and Û Û unmatched enthusiasm or Yes’ “The Ancient (Giants Û Û Under the Sun)” with its arcane motifs, varied Û Û atmosphere, and the otherworldly logic of its Û Û progression and understand how this attempt is Û Û positively snore-inducing by comparison. It’s hard Û Û to think of another band that necessarily sounds Û Û quite like Faithful Breath do here, but their Û Û mostly instrumental, mostly inoffensive Û Û soundscape-focused affect is reminiscent of some Û Û of the 70’s less remarkable English groups like Û Û The Enid or Jade Warrior. Û Û “Tharsis” comprises the entirety of side B and is Û Û a much more active, compelling accomplishment. Û Û Much of this is due to the simple addition of Û Û Heinz Mikus’ vocal contributions, which help break Û Û up the very similar keyboard-drenched monotony a Û Û bit. His voice is quite strong and tuneful to Û Û boot, despite some characteristic lyrical flubs Û Û here and there (he pronounces “bird” as “burt” Û Û just moments into his introduction, poor fellow). Û Û This is just as well, as it’s hard to take the Û Û lyrics too seriously anyway. Some heady allegory Û Û about giant space birds and nuclear warfare; Û Û curious for sure, but surely not intended for Û Û serious contemplation, at least I hope not. Û Û The overall feeling of good intentions is present Û Û throughout, but the band seem stuck on the bridge Û Û between the accessible and the excessive sides of Û Û the progressive stream, writing imposingly long Û Û songs while providing little more than neat Û Û incidental music for much of their length. Û Û Personally, I’d have much preferred a conscious Û Û effort toward either direction rather than this Û Û indecisive middle ground. ’74 was one of the finer Û Û vintages of prog rock, with mature efforts from Û Û the veteran acts releasing alongside many Û Û promising second-wave groups from continental Û Û Europe, so there are scores of great records from Û Û both opposing interpretations that quite Û Û overshadow Faithful Breath’s humble debut. Û Û It’s really not too shabby of a record, if a bit Û Û forgettable between exposures. The production is Û Û full and clear, which alone is an achievement Û Û considering the time period and geographical Û Û affiliation (when you’ve struggled through the Û Û basement-budget efforts of groups like Kyrie Û Û Elieson or Il Rovescio della Medaglia, you quickly Û Û develop an appreciation for professional recording Û Û quality in this genre). But it is the fact that Û Û Faithful Breath would eventually embark on the Û Û unusual evolutionary path towards heavy metal that Û Û is their most notable quality. That, or the Û Û peculiar coincidence that they had three different Û Û drummers named Jurgen over the course of their Û Û career. Honestly? I can’t decide. Û Û Û Û --- Û Û Û Û Faithful Breath, originally named Magic Power, and Û Û renamed Risk during the mid-eighties, was a Û Û strange case of a band. They traversed different Û Û stages of rock music evolution, adapting and Û Û reforming with each of those movements. Each leap Û Û forward not only meant a departure from its Û Û previous name, style and aesthetics, but also a Û Û change in personnel and instrumentation. Darwin Û Û would have been impressed. The sole constant Û Û element throughout their whole history was Û Û vocalist/guitarist Heinz Mikus, much like the Û Û Robert Fripp or the Jeff Waters of this German Û Û outfit. His ability to transform his band from Û Û psychedelic/progressive rock from the 70s to a Û Û 100% thrash metal band is almost unparalleled. Û Û Fading Beauty is the band’s debut, released during Û Û the heyday of the progressive rock movement of the Û Û seventies. It is structured like many of the Û Û classic and greatest albums of the style; two over Û Û ten minute tracks taking one side of the LP, while Û Û a twenty minute suite takes the whole other side Û Û of the vinyl. Van der Graaf Generator’s Û Û progressive rock 1971 masterpiece Pawn Hearts, Û Û Yes’ 1972 seminal Close to the Edge and Relayer, Û Û released in the same year than Faithful Breath’s Û Û debut, share this arrangement. There are other Û Û examples of course, and variations, such as having Û Û a suite on one side and several shorter songs on Û Û the other, or a suite that lasts more than just Û Û one side of the LP, such as Emerson, Lake & Û Û Palmer’s “Karn Evil 9” or, even longer, Jethro Û Û Tull’s monumental “Thick as a Brick”, which takes Û Û the complete disc. These records of lengthy tunes Û Û would end up being broken eventually, with the Û Û advent of CD format, which granted more space for Û Û music. In the case of the band in question, the Û Û curious thing is that the material here greatly Û Û contrasts with the shorter songs they would go for Û Û later. Û Û Side A is pure instrumental, and both compositions Û Û can be considered a suite of their own, since they Û Û are labeled “Autumn Fantasia: Movement 1, Fading Û Û Beauty” and “Autumn Fantasia: Movement 2, Û Û Lingering Gold”. Not the most interesting of Û Û progressive rock I’ve heard, but very atmospheric Û Û and mildly enjoyable, the tracks unfold slowly Û Û with the use of the characteristic wall of sound Û Û comprised by organ pipes, the ever melancholic Û Û mellotron, piano and other keyboards that were all Û Û the rage in those years. The four band members Û Û contribute to chanted choral arrangements, while Û Û the acoustic guitars show their presence from time Û Û to time. Percussion’s pretty slow and simple most Û Û of the time, quite taciturn and minimalist during Û Û “Fading Beauty”, and a bit more vivid during Û Û “Lingering Gold”, vanishing entirely from the two Û Û compositions from time to time. In the second Û Û movement, there are some soprano female vocals, Û Û attributed to Renate Heemann. The overall feeling Û Û of the “Autumn Fantasia” suite reminds me of Û Û Procol Harum’s hit “A Whiter Shade of Pale”, Û Û though lengthier and more complex. Û Û Side B is the exclusive lair of “Tharsis”, a 21 Û Û minute suite that tales the story of the namesake Û Û humungous cosmic bird, and its also humungous Û Û cosmic egg (no relation to Wolfmother’s album of Û Û the same name), which happens to be the very Earth Û Û on which Mankind dwells, quite merrily listening Û Û to metal and prog while the brood continues to Û Û grow in the center of the planet. A prophecy Û Û foretold about this little issue but nobody paid Û Û heed, so when earthquakes and cataclysm start, the Û Û people realize they’d be fucked unless they find a Û Û way to survive. Ultimately, they choose to nuke Û Û Tharsis offspring’s ass, with the RISK (ha!) of Û Û nuking their own as well. The tale ends by telling Û Û that it is unknown if the people of Earth were Û Û victorious or failed, in whatever case they’d be Û Û confronted by Tharsis itself, so, logical thing to Û Û think is that Mankind ultimately dies. As for the Û Û music, it is fairly similar to Side A, but not as Û Û good, which is bad news for a song this long. I’m Û Û afraid the concept is much more interesting than Û Û the uneven composition, even if it counts with Û Û Heinz Mikus decent lead vocals, which are melodic Û Û and sort of melancholic like the rest of the Û Û album, without being overdramatic. Û Û The sound found in Fading Beauty wouldn’t be Û Û reproduced for their 1980 sophomore, Back to My Û Û Hill, that eschews much of the classic music Û Û inspired prog rock found here for some shorter, Û Û more varied tracks, ranging from hard rock to Û Û folk. It that regard, this album is pretty unique, Û Û though not that outstanding when comparing it to Û Û the works of other progressive rock acts of its Û Û day. In 1974 some serious badass prog rock albums Û Û were released, like King Crimson’s immortal Red, Û Û Starless and Bible Black, Camel’s Mirage, Eloy’s Û Û Floating or Genesis ambitious double LP The Lamb Û Û Lies Down on Broadway, stuff not even Tharsis Û Û could compete with. There’s also similarly Û Û sounding material to this, like Turn of the Cards Û Û by Renaissance, which turns out to be way more Û Û fulfilling and intense. So, treat this no more Û Û than a curiosity… for the prog rock fan, that is. Û Û Metalheads will not find much of interest here, I Û Û guarantee that. Û Û Û Û --- Û Û Û Û Now, I seriously think 70s Hard Rock/Prog/Metal is Û Û an extremely underrated Genre. People today bang Û Û on about how "Brutal" one band is and how "Tech" Û Û another is etc. Even the Thrashers bang on about Û Û how Thrashtastic some boring late 80s Metalliclone Û Û is, then tell people Metallica are crap and always Û Û were (hahahahahahahahahaha). I adore Modern Metal, Û Û really do, I just don't think any genre is as Û Û consistently good as the 70s was, especially early Û Û 70s to mid 70s. Yet, It's like people are scared Û Û to go further than 20 years beyond what they Û Û already know (which is very little). Bold Û Û statement I know, but a lot of 70s Rock & Metal Û Û was a LOT purer than 80s+. When I listen to most Û Û early 70s LPs, it sounds like they had nothing to Û Û really prove, just wanted to make top class Music Û Û while getting off their face on copious amounts of Û Û Drugs and fuck lots of Hippy women without silly Û Û added fads or fashions (unless you count getting Û Û off your face and chilling out a "fad"?). Even if Û Û I don't really like a release I hear from the Û Û early 70s, there's still something honest about Û Û it's music that I respect, it tends to be the Û Û vocals or something else that spoils it, rather Û Û than the Music. For example, a few blues come Û Û proto rock bands didn’t know whether they wanted Û Û to be “Rock n Roll” or Blues or not. Judging by Û Û the almost Hard Rock sound they had, yet that Û Û emotionless drone of the typical Blues singer (for Û Û example, see early Creedence Clearwater Revival). Û Û Blues was a pretty important genre as far as the Û Û movement of Rock (thence Metal) was concerned, but Û Û there’s only so much you can take of a different Û Û band in the 60s+ basically releasing what was Û Û already released back in the 1930s. The only Û Û reason I'm bringing this up in this review Û Û (because usually I try not to era/genre bash), is Û Û because it pisses me off that people (especially Û Û Metalheads) seem to have forgotten the 70s and Û Û this band are a perfect example for my next point. Û Û Û Û My next point being, that the late 70s/early 80s Û Û to mid 80s was an absolute vital time for Metal. Û Û Indeed, this was the seed and almost birth to Û Û extreme Metal. Thrash (that from the birth of Û Û Heavy/Speed), being one of the most addictive Û Û genres of Metal to date. But, with this great 80s Û Û phenomena, came the damn fads, fashions, unwritten Û Û rules and bands like Sadus (great band) making Û Û demos called "Death To Posers" (Great demo). Û Û Great, thanks a lot, now every dork today who is Û Û trying to be so "Metal" goes around calling Û Û EVERYONE he deems not "Metal" a "poser". Thanks Û Û Sadus. I mean, really, in general, these people Û Û (80s Metalheads) might have been creating Û Û something big, but they were also dressed in Û Û leather, trying to act all tough, nothing much to Û Û say at all yet being as anti-society as they Û Û could, who were the real posers? What did the Û Û supposed "posers" in the 80s "pose" as? "Real" Û Û Metalheads? =S Nothing wrong with the guys in the Û Û 80s wanting to rock out, get drunk off their faces Û Û on Beer and make some class Metal, that's what it Û Û should have been about, just not so sure it was Û Û purely about that. But, with that said, this point Û Û enhances my previous point about the 70s being Û Û pure with nothing much to prove. Now, the reason I Û Û use Faithful Breath as an example, was because, Û Û early 70s they made a beautiful prog gem like Û Û this, then went all out Hard Rock and then later Û Û jumped the trend band wagon. Their 80s work was a Û Û shambolic attempt at Heavy/Speed Metal. Which then Û Û led them to change their name to "Risk" in the Û Û late 80s (because their current band name wasn't Û Û Metal enough), and continued with their new Û Û "progression". Admittedly, the work they put out Û Û with Risk was a hell of a lot better than FB's 80s Û Û work. But still, they went from that pure 70s Û Û band, to another tag-along. Great =/ Û Û But, with that ramble off my chest, now to the Û Û most important part, the Music. Û Û The LP consists of only 3 songs, which are all Û Û epic songs, all combined at nearly 45 minutes. The Û Û first 2 tracks, are allegedly one 23 minute Û Û Instrumental song called "Autumn Fantasia" split Û Û into 2 parts. Û Û The first part, which is named "Autumn Fantasia: Û Û Fading Beauty", starts off with an organ build-up, Û Û sounds like something you'd hear in a ceremony in Û Û a Church or something (but not a gay Church of Û Û god, well actually, they probably were Christian Û Û then changed when they changed their style). After Û Û a minute and a bit of harmonizing Organs, the main Û Û Organ drops out, to leave the subtle Organ backing Û Û as it drops into a simply beautiful melody with a Û Û very simple beat. Hail the 70s, this is fantastic. Û Û Great keyboard work to follow, as it appears to Û Û get more "serious". The beauty has stopped and Û Û it's got a simple theme now. Great bassline comes Û Û in, then drops onto a much more calm moment. This Û Û band has great musicianship. Interesting idea to Û Û leave the first 2 songs vocal less, but it fully Û Û works, because most vocals spoil good music. Ah, Û Û though, it's also a shame when good vocals aren't Û Û fully complimented by the Music also. Anyway, Û Û after the 6 minute mark, the song breaks, the beat Û Û stops to allow a new acoustic melody, which is a Û Û great early acoustic sounding melody, something Û Û which 30 years later will be over copied, over Û Û used and put totally in the wrong places by Û Û amateur bastards (In Flames, Shadows Fall, Opeth Û Û and many other 90s/00s Metallica (because it’s the Û Û only 80s band they know) clones, rubbish “Melodic Û Û Death Metal” bands, the list goes on). After this Û Û mini acoustic melody has had it's bit of minute Û Û long fun, the beat and earlier organ theme of the Û Û song comes back in. I mean, wow, this song changes Û Û it's moods very swiftly, but it does it in a way Û Û you don't instantly notice if you were say Û Û listening to it as backing Music. Just before the Û Û 10th minute, it slows right down, leaves the beat Û Û behind, absolutely brilliant. Which after a few Û Û minutes, drops back into another happy sounding Û Û melody, with a great simple bassline that Û Û compliments it perfectly. The song ends very Û Û abruptly, which doesn't really indicate that the Û Û first 2 tracks go well as one song at all, but a Û Û total minor thing that has no relevant affect on Û Û the Music, therefore has 0 relevance Û Û whatsoeveeeeeeeer. Û Û Next track, "Autumn Fantasia: Lingering Gold", is Û Û nothing like the last track, with exception to the Û Û usage of the same instrumentation. It starts with Û Û a lovely acoustic plucking with an echo effect Û Û that a lot of decent, non-metal bands today use Û Û (check out Rothko, fantastic Instrumental band), Û Û which then adds tempo after 30 seconds and a Û Û brilliant keyboard part. Great song. Great Û Û overlaying Guitar part comes in. This is exactly Û Û what I previously meant when I said "pure". What Û Û great Music. Then it breaks down, to allow that Û Û Organ back in, which builds up for a few minutes, Û Û to then drop into a more mellow part. I mean, this Û Û is a real test of your senses and the level in Û Û which you have the ability to sit back and relax. Û Û I challenge anyone to listen to this and not feel Û Û incredibly calm. Then the tempo builds up again, Û Û with the very, very simple beat. Once again, Û Û stopping and starting again, but in the most Û Û simple way possible, as opposed to the annoying Û Û modern type of "stop starts". Except this time, Û Û when it starts up, there is an added female choral Û Û type vocal added as backing and an EVER so faint Û Û male choral vocal too, which you can only slightly Û Û hear if you listen closely to the vocal fade out, Û Û as the male vocals are slightly louder on the Û Û actual fade-out. This works very well. This all Û Û stops, AGAIN, haha. To allow a strange rhythm to Û Û make way, probably the most "hectic" moment of the Û Û LP so far, strange beat too. This then stops to Û Û halt, to allow a moment where the backing female Û Û vocals have become a more prominent headlining Û Û factor in the song, with amazing backing keyboard Û Û work which most people wouldn‘t notice, due to Û Û concentrating on the vocals (which, I take, is Û Û what the band want). This hits you, rather than Û Û builds, which means the last stop before this is Û Û probably the most important one of the LP so far, Û Û especially as it’s the 3rd time the song stops in Û Û about 15 seconds. Brilliant. This lasts a few Û Û minutes, to then again stop and allow a previous Û Û simple acoustic melody back in. The song slowly Û Û builds up again, to allow a great bass in the Û Û background to compliment a very frontline Û Û authoritative part to come in. You know what I Û Û mean, the over dramatic slamming of the notes? Û Û Wake-up time, etc. Good. The initial simple choral Û Û part eventually comes back in, and after nearly 11 Û Û minutes, the song dies down slowly and finishes. Û Û Great stuff. Û Û The next song is "Charsis", which is an epic at 22 Û Û minutes. But, for me, probably the worst song on Û Û the LP. Starts off as a quiet build up then has Û Û this cheesy feel to it. Not totally fond of this Û Û song so far, but it does get a LOT better. It all Û Û stops to allow a simple few notes on the Organ to Û Û be played. Then out of nowhere, 1:30 in, and wow, Û Û lead vocals, for the first time. Great voice, Û Û typical of that legendary early 70s vocal sound. Û Û At this point, I realise this song has turned out Û Û to not being that bad at all and I start to really Û Û like it, despite the average intro to the song. Û Û When the vocals stop, the song is very calm and Û Û simple. This Organ backing carries on underneath a Û Û very good simple guitar lead. Nice. It's fitting Û Û that this is the only song with a simple formula, Û Û especially as it's the only song with vocals. It's Û Û also good that the singer doesn't sing too often Û Û on this song, just a minute here and there, which Û Û is great. The song never really picks up, or goes Û Û anywhere, which I think is the complete intention Û Û and works ever so well. After 10 minutes, the song Û Û does a pseudo fade-out, which is a bit daft, but Û Û an easy way to totally change the mood of the Û Û song, I suppose, heh. Well, in saying that, the Û Û same mood comes back in, to allow the vocals Û Û again. Great guitar part 15 minutes in. The song Û Û totally changes on the 20th minute, with the first Û Û acoustic part of the song, with simple vocals to Û Û come in. Personally, I think this song would have Û Û been better off ending on the 16 minute mark or Û Û even on the fade-out, even at the 16 minute Û Û length, it's far too long. Lengthy songs can be Û Û annoying if there is no apparent reason for their Û Û length. You should be epic for a reason, not Û Û because you WANT to be epic (check Opeth, what a Û Û crap, crap, crap, crap, band), that's pointless Û Û doing that and proves it on this song. Even with Û Û me stating that, I don't let it affect my view on Û Û the good Music, even if the last song is 100% Û Û inferior to the other 2. Û Û Overall, a great release that I think most people Û Û would enjoy. It's just a shame I have to knock off Û Û a lot of points literally because of the last Û Û song. But I don’t really think it’s that Û Û important. Not that people ever gave a shit about Û Û Metallica droning on for FAR too long in a lot of Û Û their songs, instead people just threw their horns Û Û in the air and screamed, “\/\/( )\/\/, epic is Û Û coooool”, hahahaha, oh my. It takes real masters Û Û to perfect Epic Music (check out Esoteric, best Û Û Epic band on the Planet). Anyway, this release. Û Û Check it out. Û ² ² ± ± ° 1. Autumn Fantasia: 1st Movement - Fading 12:10 ° ° Beauty ° ° 2. Autumn Fantasia: 2nd Movement - 10:29 ° ° Lingering Gold ° ° 3. Tharsis 21:41 ° ° 44:20 ° ° ± ± ² Û ° ² ° þ ÛÜ ° ÛÛ ßÛÜ° ÜÜÜÜÜ ² ° ÜÜÜÜÜ °ÜÛÛ° ° ßÛÛÛÛ²ÛÜÜÛÛÛÛÛÛÛÛÛ²° ÛÛÛ ÛÛÛ²° ÛÛÛÛÛÛÛÛÛÜÜÛÛÛÛÛÛß ² ²ß² ±ÛÛÛÛÛÛÛßß ßÛÛÛÛÛÛÛÛ± °ÛÛÛÛÛÛÛÛß ßßÛÛÛÛÛÛÛ°²ß² þ ° ÜÛ°ÛßßÜÛÛÛÛܲ ßÛß Û²° ±²Û ßÛß ÜÛÛÛÛÜ ßÛÛÛÜ° ÜÛß° °ÛÛÛßßßÛÛÛÜ ßÛ± ÛÛ² ÛÛ ²Ûß ÜÛÛÛßßßÛÛÛ° ßÛ° Ûß ²ÛÛ² ÜÛÛÛ ßÛ² ÛÛÛÛ ±Ûß ²ÛÛÛÜ ²ÛÛ² ßÛ² Ûß ²ÛÛ° ±ÛÛÛÛÛÛ² ßÛ Û² Ûß ²ÛÛÛÛÛÛ± °ÛÛ² ßÛ ± ÜÛÛ °ÛÛÛ ²ÛÛÛ² ß°ÛÛ°ß ²ÛÛÛ° ÛÛÛ ÛÛÜ ± °Ûß ÛÛÛ Üß ÛÛÛÜ ²ÛÛÛÛ± ÜÛÛÛßÜ ÛÛÛ ßÛ° ²Ûß ÜÛÛÜÛß ° ÛÛÛÛÛÛÛÛÛÛÛÛÛÛ ßÛÜ ÛÛÜ ßÛ² Ûß ÛÛÛÛßÛܲ°ÜÛ ßÛÛÛÛÛÛß Ûܲ°ÜÛßÛÜÛÛ ßÛ² ° Ü ÛÛß ßÛÛÛÛß ßÛ²ßÛÛ ßÛÛÛÛß ßÛÛÛ Ü ± Û°Û² ÛÛ° Û° Û °ÛÛ ßÛÛ±Û ÛÛÛ° ±Û° Ü ² ± °Û± ²ÛÛÛ ° ²ÛÛ ° ÛÛ² ÛÛ° °ÛÛ Û± ° °Û ßÛ Ûß ² ° °
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